Extroverted, declarative, jazzy, and vital, Beg No Pardon commands attention from the first word to the last. Lynne Thompson’s poetry is brimming with personality and attitude in the very best sense—pride, dignity, and graceful indignation—in poems about the search for legacy, love of legacy, and joy of legacy. Thompson explores identity from a little-known and complicated beginning, both personally and culturally. Using the music and language of her hybrid culture Thompson describes a vivid world of Afro-Caribbean heritage and late 20th-century life. -- Provided by publisher.
Start With A Small Guitar is a collection of poems that celebrate and suspect, extol and mourn, despise and pray for love, in all its terrible, bewitching iterations. Neither biography nor dream--despite the way the poems' titles mislead--these poems hope and pretend and, in the end, wrap their arms around a language that gives rise to love's mysteries. The poet hopes that her readers will be bewildered and enchanted, infuriated and left on a precipice. -- Provided by publisher.
Poetry. "With Lynne Thompson's new collection FRETWORK, one feels spurred on by the cherished care of the American emigrant story, which is to say, the buttressing and fortifying of the dream with all of its inglorious and joyous plots and twists. In mapping her supreme truths, imaginatively rendered here in measured lines, embedded in the familial tales, and felt music of her people, she embraces that light that emanates from language that aligns memories to myth. This is a masterful collection; one cannot help but surrender to the calling of its cadences that resonate widely into the 21st century."--Major Jackson
From Gerald Ford's preemptive pardon of Richard Nixon and Donald Trump's claims that as president he could pardon himself to the posthumous royal pardon of Alan Turing, the power of the pardon has a powerful hold on the political and cultural imagination. In Theaters of Pardoning, Bernadette Meyler traces the roots of contemporary understandings of pardoning to tragicomic "theaters of pardoning" in the drama and politics of seventeenth-century England. Shifts in how pardoning was represented on the stage and discussed in political tracts and in Parliament reflected the transition from a more monarchical and judgment-focused form of the concept to an increasingly parliamentary and legislative vision of sovereignty. Meyler shows that on the English stage, individual pardons of revenge subtly transformed into more sweeping pardons of revolution, from Shakespeare's Measure for Measure, where a series of final pardons interrupts what might otherwise have been a cycle of revenge, to later works like John Ford's The Laws of Candy and Philip Massinger's The Bondman, in which the exercise of mercy prevents the overturn of the state itself. In the political arena, the pardon as a right of kingship evolved into a legal concept, culminating in the idea of a general amnesty, the "Act of Oblivion," for actions taken during the English Civil War. Reconceiving pardoning as law-giving effectively displaced sovereignty from king to legislature, a shift that continues to attract suspicion about the exercise of pardoning. Only by breaking the connection between pardoning and sovereignty that was cemented in seventeenth-century England, Meyler concludes, can we reinvigorate the pardon as a democratic practice.
If the devil has cooked up a plot against your Bible, would you want to know it? Conspiracy theories are destroyed by solid evidence. Author David W. Daniels came to the point where he could no longer ignore the mounting evidence. He was schooled in Bible college and seminary to believe that the King James was hopelessly obsolete. But the mounting confusion around the new Bible translations left him wondering. He already knew how to use modern search techniques to quickly discover relevant evidence. He soon learned that the Bible version issue was more than a baseless conspiracy. Many new facts had become available shedding light on the history of Bible versions. He learned that the scholars who decided over 100 years ago to “fix” the King James may not have had the best intentions. His discovery of Satan’s plan to damage God’s words is chronicled in a series of books. In 2017, his book, "Is the 'World’s Oldest Bible' a Fake?" presented heavy evidence against Codex Sinaiticus, the manuscript that scholars claim is the world’s oldest Bible. This book attempts to answer the next question: Who Faked the “World’s Oldest Bible”? It reads like a mystery novel, but over 100 illustrations and more than 300 footnotes gives it the force of a graduate research paper. The murky narrative of the discovery and evaluation of the Sinaiticus becomes much clearer with this new book. Daniels leaves it up to the reader to decide how this might affect his or her eternal destiny.
